Boston three-piece Rozamov have been pretty tightlipped when it’s come to their debut album. I had to go back and look at the dates, but it was last summer that I visited them at New Alliance Audio (feature here) while they were tracking the full-length, the title for which has been revealed today as This Mortal Road, so to say it’s been a while in the making seems fair, but to have them announce a solid release date — March 3 — through not one but two record labels in Battleground Records (LP) and Dullest Records (CD/CS), well, that’s definite progress.

And not like they haven’t been busy in the interim, playing Psycho California, breaking in new drummer Jeff Landry and touring earlier this year with Moon Tooth to support their split single with Los Angeles’ Deathkings (review here). Bottom line is dudes have hardly been sitting on their collective ass — plus there were haircuts to get! (been there, can relate) — but I’m glad to see This Mortal Road making its way toward fruition.

Boston, Massachusetts-based doom metal outfit, ROZAMOV, has completed their first full-length recording, This Mortal Road. The band has hooked up with diverse underground labels, Battleground Records and Dullest Records, who are now solidifying the album for release in early 2017.

Since 2011, ROZAMOV has left their mark on the US metal circuit with their infectious psyche-tinged grueling doom, the band name having quickly spread beyond their local scene through touring abroad, having opened for countless national acts, and much more. Having independently released two EPs – 2012’s Rozamov and 2013’s Of Gods And Flesh – ROZAMOV now prepares to desensitize the masses with their proper debut album, This Mortal Road.

Following an already busy 2015, including performances at Psycho California, Converse Rubber Tracks Live alongside Slayer and Doomriders – with a corresponding Converse feature on the back cover of Decibel Magazine, a tour with Destroy Judas, and the release of a split 7″ with Deathkings, amidst the bleak and historic winter of 2014-15, ROZAMOV entered New Alliance Audio in Cambridge to record This Mortal Road. The result is a blistering sonic catharsis featuring the longest, heaviest and most progressive tracks the band has ever produced, the album recorded and mixed by Jon Taft at New Alliance Audio, and mastered by Nick Z at New Alliance East Mastering. The recording lineup for the album includes Tom Corino (bass/vocals/noise guitar), Matt Iacovelli (guitar/vocals/piano), and Will Hendrix (drums).

This Mortal Road will see release March 3rd on vinyl through Battleground Records (Vehemence, Eight Bells, CHRCH, Lago), on CD and cassette through Dullest Records (Cleanteeth, Crowhurst, Lambs, Hush), and digitally through the band. Stand by for the track listing, cover art, and additional details, audio samples, and more to be released in the coming weeks.

Since recording This Mortal Road, in 2016 ROZAMOV has completed a brief Canadian tour with Moon Tooth and added drummer Jeff Landry to the lineup, while finalizing the new album for release. A North American tour is currently being booked for March alongside the release of This Mortal Road.

I don’t think a certain kind of breadth from Converge and its component members was ever really in doubt, but the scope continues to expand as frontman Jacob Bannon readies to debut his project Wear Your Wounds at Roadburn 2017 next April. You might recall Converge played two sets at the same fest this past April, one of them the classic Jane Doe in its entirety and the other a special set comprised of their slower, sludgier material from throughout the years. Both were intense highlights, and Bannon‘s Wear Your Wounds will hit Roadburn 2017 just after the first album, WYW, is released via his own Deathwish Inc. imprint. Bet your ass that timing is purposeful.

Obviously we’ve got a while to go before April gets here, but the PR wire announced the album thusly:

WYW LP due out April 7th from Deathwish, See the live performance at this year’s Roadburn Festival

Wear Your Wounds is the product of years of lo-fi solo recordings by Converge founder Jacob Bannon. On this debut release, WYW (out April 7th on Deathwish), Bannon is joined by guest musicians Kurt Ballou (Converge), Mike McKenzie (The Red Chord, Stomach Earth, Unraveller), Chris Maggio (Sleigh Bells, Trap Them, Coliseum), and Sean Martin (Hatebreed, Cage, Kid Cudi, Twitching Tongues). Together they have created a powerful album that is unlike anything they have ever individually worked on. The album is comprised of ten emotionally heavy songs that call to the slower, more epic leanings of Converge, as well as Bannon’s previous work in Supermachiner. Wear Your Wounds brings to mind the dense multi-layered approach of Swans and early Pink Floyd, while being as vulnerable as influences Sparklehorse, Songs: Ohia, other like minded artists.

Wear Your Wounds will reveal itself in a live setting on April 22nd at Roadburn Festival in Tilburg, The Netherlands as part of John Dyer Baizley’s curation. Find more information about this special Roadburn performance here. Wear Your Wounds live will feature Bannon joined on stage by musicians Mike McKenzie, Chris Maggio, Adam McGrath (Cave In, Zozobra, Nomad Stones), and Sean Martin.

Boston heavy rockers Gozu have signed to Metal Blade subsidiary Blacklight Media for the release of their next album. Just back from a European tour alongside Holy Grove, the four-piece are riding high from this year’s Revival (review here), which served as their debut on Ripple Music following two records through Small Stone, 2013’s The Fury of a Patient Man (review here) and 2010’s Locust Season (review here).

No doubt it was their on-stage ferocity that caught the attention of Blacklight Media‘s Chris Santos (also of the Food Network’s Chopped). Coupled with their penchant for heavy groove and soulful edge, it has stood Gozu out from the pack in the American heavy rock underground for more than half a decade, and on behalf of this site and myself, congratulations to the band. May they continue to get the credit they’re due.

Gozu are currently — like, today — writing a new album that they’ll begin recording next June with Dean Baltulonis at The Wild Arctic Studio in Portsmouth, New Hampshire, where the bulk of Revival was also tracked. One assumes Benny Grotto at Mad Oak will have a hand in it as well. In addition to the Blacklight deal, they’ve also signed on with Brooklynlarry Management (Sick of it All, among others), and have plans in the works to return to Europe next Spring or Fall.

We’ll let the PR wire make it official, and I’ve also added some exclusive quotes from guitarists Doug Sherman and Marc Gaffney that you’ll find peppered in below.

Dig it:

Gozu signs worldwide deal with Blacklight Media / Metal Blade Records

Blacklight Media / Metal Blade Records is proud to announce the worldwide signing of Boston’s rock/metal outfit Gozu. Formed in 2010, the four-piece have released one EP and three full-lengths to-date, and are currently writing their fourth studio album, set for a 2017 release.

Marc Gaffney on signing:

“A chance to sign to a label of this realm and magnitude, does not usually happen, so, when Chris Santos told us he wanted to work with us after a show at Lucky 13 in Brooklyn, we were in s state of shock. The four of us are simply in awe that we will be working with Brian Slagel, I mean Metal Blade, talk about Rock Royalty, I think Brian has to be in the upper echelon of respected gentleman in the field.Now, to work with such an intelligent and genuine soul as Chris Santos, my coffee tasted a little better this morning and the sun shined a bit brighter. Thanks to everyone who has helped and on to a new chapter. Ciao!”

Including a former member of Warhorse, Gozu heave the rock, yet embody the soul on their past releases. Fronted by Marc Gaffney on vocals and guitar, Doug Sherman on guitar, Joe Grotto on bass, and Mike Hubbard on drums, the band’s sound is tailor-made for blasting out the car speakers via international radio airwaves.

Having already been aired on national television (USA) via MTV (‘Road Rules’, ‘Dudesons’, ‘Real World’), NBC, and NASCAR, Gozu aims to take their critical and commercial success to new heights on their upcoming debut for Blacklight Media / Metal Blade Records, with worldwide touring to follow.

Douglas Sherman on signing:

“This is an amazing opportunity for Gozu to be a part of Blacklight Media / Metal Blade. To be actually be working with celebrity chef Chris Santos, who is extremely passionate about metal and successful with everything he touches, and the legendary Metal Blade CEO Brian Slagel is truly mindblowing. I’m looking forward to this new chapter in our career.”

Previously, the group shared the stage with the likes of Saint Vitus, Pallbearer, Lo Pan, Storm of Light, Helmet, Elder, Mos Generator, and Fu Manchu in the States, as well as Yob, Church of Misery and Kvelertak in Europe at Roadburn (Netherlands) and DesertFest Berlin (Germany). 2017 will surely see Gozu back on the road again, and at the forefront of the heavy rock and metal world.

Gozu comments: “We are extremely excited to be signed to Blacklight Media / Metal Blade Records, started by celebrity Chef Chris Santos and partnered with legendary Metal Blade founder and CEO, Brian Slagel. The four members of Gozu couldn’t be happier. This is why we plug in every night.”

Gozu, Live at Psycho Las Vegas 2016

It’s only been about 18 months since Ice Dragon put out their last album, A Beacon on the Barrow (review here), but one wouldn’t necessarily be wrong to think of that as an eternity when it comes to the self-releasing Boston experimentalist doom rockers. After all, that record — which was the only thing they had out last year — capped a three-year period from 2012 to 2015 that saw Ice Dragon issue no fewer than eight full-lengths, starting with Tome of the Future Ancients (review here), Dream Dragon (review here), greyblackfalconhawk (review here) and Dead Friends and Angry Lovers (which wasn’t an Ice Dragon release, then it was) in 2012, Born a Heavy Morning (review here) in 2013, and Seeds from a Dying Garden (review here) and Loaf of Head (review here) in 2014. Peppered in with these were splits and shorter releases, one-off singles rife with studio fuckery, willfully trashcan sound and the band trying to dig heavy metal, psychedelic rock and/or garage doom down to their very core rawness, thereby remaking them in their own image.

What started as barebones crunch on their 2007 self-titled (review here) and 2010’s The Burl, the Earth, the Aether (review here) exploded into an anti-genre creative streak that simply refused to falter or not move itself forward, even if that motion was happening through regression. And make no mistake, there were plenty of times when it was. Recording themselves at Ron’s Wrecker Service, Ice Dragon developed a signature in the sometimes harsh production they elicited, but it was no less a part of their aesthetic on the Beach Boysian Born a Heavy Morning than it was on 2012’s patient and proggy single, Season of Decay (discussed here), or the return to doom in the 2013 two-tracker Steel Veins b/w Queen of the Black Harvest (review here). It was a part of who they were as a band.

Then they stopped. Bound to happen eventually, right? It would be unreasonable to ask a group to keep up the kind of pace Ice Dragon were working at into perpetuity. Vocalist Ron Rochondo worked on various side-projects, while drummer Brad played bass in Pilgrim, and presumably guitarist/bassist Carter and bassist/guitarist Joe were at work on something or other — maybe life. In any case, Ice Dragon awaken with the new EP Broken Life. Comprised of just two songs, “Scratch at Your Skin” and “Life Means Nothing, Death Means Nothing,” it’s nonetheless the first new output the band has had since A Beacon on the Barrow and so feels like an event in its arrival, even as that comes just through their usual means of posting on Bandcamp as a name-your-price download. In fact, there’s a lot about Broken Life that’s business-as-usual for Ice Dragon, including its unpredictability. After 18 months, who the hell would guess they were going to come up with anything at all, let alone take a stab at what that might actually sound like? Not me.

Further, most of the recording seems to have been done at Rubber Tracks Studio in Boston, which is either owned by or somehow affiliated with shoemaker Converse. They still mixed and mastered at Ron’s Wrecker Service, and recorded vocals and some acoustic guitar there as well, but that’s a significant change in venue for an Ice Dragon offering. Would Broken Life had happened in another circumstance, i.e., without the push of putting it to tape someplace else? I don’t know the circumstances that led to their revival anymore than I do what led to their break, but when it comes to new material, I’ll take it either way. Which brings us around to “Scratch at Your Skin” and “Life Means Nothing, Death Means Nothing.” Together, they run just under 11 minutes. If they’d fit they’d make an excellent 7″ pressing — particularly with the Samantha Allen cover art out front — and in their short span of time they manage to reaffirm what made Ice Dragon‘s prolific stretch so satisfying, most of all that part about always moving forward.

Production, as it turns out, is a factor in that process. While Rochondo‘s howling lyrics in the first cut, “It’s killing you/But not quite yet,” may have been recorded at their home studio, the guitar tone that accompanies them, though still plenty raw, comes through bright and clear at the fore of the mix. I’d be willing to bet Baines Kluxen and Matt Carlson, who helmed the session at Rubber Tracks, had at least some measure of prior familiarity with the band going into the session, because they manage to preserve some of the core features of their sound in the guitar, bass and far-back crash of the drums, while enhancing the overall feel. Vocals echo cavernous over a march in the second half where the title line is delivered in a context outside its usual chorus, and “Scratch at Your Skin” rumbles and hums to a finish, leading to the more prominent bass roll of “Life Means Nothing, Death Means Nothing,” a classic doom rocker that seems to inadvertently come across like darker Kadavar in its verse before moving into a chorus capped with surprising harmonies and a guitar triumph that affects immediate nod before shifting into an acoustic stretch.

The heavier push reemerges after the four-minute mark and more prominent harmonies in the hook help carry Ice Dragon to the finish of the second and closing track. I don’t know a lot about this material — when it was written, how the recording came about, whether it will lead to more, etc. — but if Ice Dragon are marking a return with Broken Life, or even general intent toward one, or if it’s a happenstance one-off and they’ll melt back into the semi-psychedelic doom ooze from which they came, it’s secondary to the fact of how well these two songs work together and off each other. Again, if they wanted to press it, as a fan of the band, I wouldn’t argue, but even as a digital release, Broken Life would seem to signify there’s vitality in Ice Dragon yet. Maybe they won’t put out four albums a year, or even one, but if they do or don’t, it’s comforting to know their creativity and sonic individualism are still intact, for whenever or however often they might want to put them to use.

Eden’s Children, Eden’s Children (1968)

One often hears about the fast pace of modern existence. Not inappropriately. Shit moves quick these days. Words come and go out of our lexicon before they’re defined thanks to rising and falling internet usage. Whatever happened to the “Dat Boi” meme? And so on. The thing is, if you think that’s anything new, you’re out of your mind. To wit, take a listen to the 1968 self-titled debut from heavy hippies Eden’s Children above and dig the context in which the album arrived.

It was 1968. Western culture, already 50 years post-collapsing, was re-collapsing. War, assassinations, popular uprising, and the closest thing to a cultural shift America has ever known gives even historical hindsight a sense of the tumult that must’ve been felt, and yet ABC Records was looking for something new. The prior year’s West Coast boom — Summer of Love and all that — was over, and it was time for the next thing. And while the “Bosstown Sound” out of New England wouldn’t produce another Janis Joplin, another Grateful Dead, Jimi Hendrix or Blue Cheer, it did bring an interesting breadth of artists in proto-heavy rock and psychedelic groove and folk. The Boston trio Eden’s Children, comprised of guitarist/vocalist Richard “Sham” Schamach, bassist Larry Kiley and drummer Jimmy Sturman, were one such act. Not a full year removed from the groundbreaking on a generation’s finest musical movement, it was old hat. The good old days, right?

Eden’s Children would release two LPs in the same year — this self-titled and the follow-up, Sure Looks Real — and among the standout aspects that the nine tracks of the 35-minute album boasts is something I think you can still hear New England bands bring to a heavy rock sound to this day. Of course, it’s easier to read into the material nearly half a century after the fact, but to listen to tracks like opener “Knocked Out” or the later “Stone Fox” and delightfully fuzzed “My Bad Habit,” Eden’s Children are definitely working in a post-Blue Cheer/Hendrix model, but they bring a tension and aggressive undertone to their approach that I think has always been central to the divide between East Coast and West Coast bands and very much remains so. Think about the differences between New York punk and California punk, or the current West Coast heavy psych boom and the Eastern Seaboard’s digging into increasingly vicious sludge. Obviously it’s a formative scale at work, but I think Eden’s Children‘s self-titled shows this same core difference happening even as the very notion of sound as something that could be “heavy” was beginning to take shape.

Which brings me back to my original point — it happened fast. The Bosstown Sound was a marketing scheme more than it was a grassroots musical movement, but Eden’s Children weren’t without something to offer to the mix of late-’60s psychedelia and nascent heft. Their delivery was tight, the songs on this record are memorable, and even almost 50 years later, one can hear how someone might’ve thought they’d be that always-sought next thing.

As always, I hope you enjoy.

—

Demolished.

Let’s go through next week’s notes. Subject to change:

Mon: Full stream/review for The Freeks’ new one; Wight tour news; Soldati video, etc.
Tue: Full stream/review of the new Iron Tongue; Boss Keloid video; big announcement from Seedy Jeezus, etc.
Wed: Year of the Cobra review, Monsternaut tour news, etc.
Thu: Full stream/review of the new Geezer.
Fri: Review of the new Akris.

More stuff will come up, but that’s how we’re beginning. There’s more news in there already than I’ve listed, but that seems like plenty to start with. I expect more fest news next week as well. Keep an eye out for that.

Woof. Feeling pretty dead to the world at this point. I just want to go home and play Final Fantasy V and not talk to anybody and hydrate and recover. I’ve had the same cold and had the pleasure of sharing it with The Patient Mrs. for the better part of the last three weeks. When I lie down I can feel the mucus shift in my chest and I can’t breathe. It’s dark in the morning when I go to work and dark at night on my way home. Up late the last couple nights with the sick dog. I need more sleep than there are hours in the day. I don’t say people’s names when I talk to them. Next Tuesday is the election.

Yeah. “Demolished” said it. That’s where I’m at.

To bed tomorrow and Sunday? Not a chance. Maybe sometime in January. Pretty much everything till then is booked. Blamo.

Have a great and safe weekend. Be awesome and visit the Forum and Radio stream.

The simple fact of the matter is that bands like Worshipper don’t just happen every day. Granted, I don’t think this is any of the members’ first project, but just because a player is experienced does not necessarily mean a given endeavor is going to click when other players become involved. Worshipper have not only clicked, but they’ve clicked on their first record, and they’ve clicked in such a way that the Tee Pee-delivered Shadow Hymns has felt destined to be on the best debuts of 2016 list since before it actually came out.

An anticipated debut? Not that it never happens, but like I said, it’s certainly not every day. Listening to the spacious crashes of opener “High Above the Clouds” or the NWOBHM-derived chug of “Step Behind,” which follows and fosters a momentum that continues across Shadow Hymns‘ eight-track/38-minute span, it reminds one of buying some tech product, opening the box, and having it ready to run immediately. Worshipper don’t need to charge up; there’s no assembly required. Guitarist/vocalist John Brookhouse, guitarist Alejandro Necochea, bassist/backing vocalist Bob Maloney and drummer Dave Jarvis have taken care of everything.

Working at three studios — Mad Oak, Q Division and Converse Rubber Tracks — they’ve meticulously constructed songs that thread together impulses from heavy rock and classic metal. Their native scene has already taken notice and embraced them heartily, handing them a Boston Music Award last year on the strength of their two 2015 singles, Place Beyond the Light b/w Step Behind (discussed here) and the earlier Black Corridor b/w High Above the Clouds (review here).

That’s an action I don’t disagree with — it seemed perhaps a bit premature in the way Barack Obama won a Nobel Peace Prize in 2009, when he’d been president for a matter of weeks — but Worshipper have been nominated for three more such awards in 2016, so clearly the Boston music scene agrees with itself, which it can be relied upon to do generally. As regards Worshipper, it’s right.

Four of Shadow Hymns‘ eight songs appeared on those prior singles, and while “Step Behind” and “Place Beyond the Light” and “High Above the Clouds” and “Black Corridor,” which closes, are standouts for having been issued before, the level of songwriting on “Ghosts and Breath,” “Darkness,” “Another Yesterday” and “Wolf Song” is not only consistent, but broadens an atmospheric scope that may or may not still be in development, but already sounds accomplished. “Ghosts and Breath” taps into Slayer-esque dual-leads at its outset even as it moves into one of the record’s plethora of hooks, while “Darkness” and the penultimate “Wolf Song” bring in layers of acoustic guitar (a specialty of producer Benny Grotto) for a feel bordering on gothic.

These moments of flourish come together fluidly with the gallop that emerges in “Place Beyond the Light,” united by stellar lead work from Necochea, Brookhouse‘s soulful vocals and the steady, forward drive of Jarvis and Maloney, which might be the most metallic aspect of what Worshipper do, ultimately. In its tone, Shadow Hymns is crisp without being unnatural or overproduced-sounding, but even as “Darkness” hits into its nodding chorus, the rhythm section holds to the tension of the verse before, setting up the transition to the solo section that follows. With a strong sense of structure throughout, it works. Worshipper manage their transitions within and between songs gracefully, and on a sheer level of execution, Shadow Hymns is miles ahead of what one generally expects going into a debut album.

“Having their shit together” might be Worshipper‘s most defining sonic feature at this stage. I would not guess their stylistic development is complete as of their first long-player — at least one hopes not — but for how firmly they nail down the airy spookiness of the slower “Another Yesterday” and the dynamic turns of “Step Behind,” they sound remarkably in command and sure of what they want to be doing. With an even side A/B split between “Darkness” and “Place Beyond the Light,” Shadow Hymns‘ personality is made even richer, but it remains drawn together through performance and songcraft, as well as a depth of mix that finds Brookhouse as much at home at the forefront of “Darkness” as buried under “Ghosts and Breath.”

There is room to expand the overall palette of mood — Shadow Hymns tends toward the dark in its themes and ambience — but Worshipper also put themselves in a solid position from which to enact that growth, structurally and in terms of how deftly they move between their rock-meets-metal influences, and with memorable cuts like “Step Behind,” “Ghosts and Breath,” “Place Beyond the Light,” “Another Yesterday,” “Black Corridor,” and so on, they’re working from a foundation solid enough to sustain any number of future directions. Like the best of debuts, the potential of the band in question is part of the appeal, but as noted, if this is just the start, Worshipper have already delivered.

Seems like a good time to be in Gozu. The Boston-based four-piece issued Revival (review here), their fourth and deadliest outing yet, earlier this summer via Ripple Music. Last month, they headed out on a choice weekender with the reformed Scissorfight and Backwoods Payback, and this past weekend they took part in what I think is arguably the best heavy rock festival lineup the US has ever seen at Psycho Las Vegas, sharing a bill with everyone from YOB to Alice Cooper to Beelzefuzz. Oh, and later this month they make their way over to Europe to tour with Holy Grove from Portland, Oregon, on a run put together by Heavy Psych Sounds.

No shortage of occasion, is what I’m saying, and if you want to see a band rise to the occasion, look no further than the video of their full set from the Hard Rock Cafe‘s Vinyl Stage. A number of Psycho Las Vegas full sets have begun to show up already, and I might post more as I stumble on them, but even with some technical problems, Gozu absolutely kill it. The momentum they build through “Mr. Riddle,” “Nature Boy” and “Big Casino” is infectious, and closing out with the D’Angelo cover “Brown Sugar” — a bonus track on the vinyl version of 2013’s The Fury of a Patient Man (review here) on which they collaborated with Lo-Pan vocalist Jeff Martin — is a particularly groovy touch to a set that spends so much time raging, if soulfully.

These guys have spent the last few years becoming one of the most powerful heavy rock bands as part of a long lineage for their hometown, and clearly their efforts have started to pay off. I hope they keep going, because the more they do, the more heads are going to turn.

Tour dates follow the video. Enjoy:

Gozu, Live at Psycho Las Vegas

Thanks Psycho Las Vegas!! Thanks to everybody who came out to see us!! This is our set from Friday. Super fun, might be one of our best sets we’ve ever played with backline issues and all. We end the set with a D’Angelo cover of Brown Sugar. Thanks again!!

We are very excited to announce that we are heading back to Europe with the amazing Holy Grove!! We look forward to seeing you all soon!! Ciao!! HEAVY PSYCH SOUNDS Ripple Music

Roadsaw news is good news. The Boston heavy rock magnates have announced that they’ll hit Mad Oak Studio to work with producer Benny Grotto next month in order to record their eighth album, the awaited follow-up to their 2011 self-titled (review here), which will be released — and here comes the twist — on Ripple Music. Formerly the quintessential Small Stone band, Roadsaw will work with Ripple for their new one, the label having already released material from heavy punkers White Dynomite, whose lineup features Roadsaw‘s Tim Catz and Craig Riggs.

Ripple continues its upswing and will have the new Roadsaw album out early next year, as the PR wire informs:

Boston Riff-Masters, Roadsaw, Sign World-Wide Deal with Ripple Music – New Album out Early 2017

Ripple Music is proud to announce the signing of legendary riff-masters, ROADSAW to the label’s hard and heavy roster. The veteran Boston motor-stoner act still consists of the decade-long classic line up and will be heading into the illustrious Mad Oak Studios with producer Benny Grotto to lay down a potent new batch of songs, due out early 2017, that are sure to please old fans and turn on new ones.

For the unfamiliar ROADSAW invite you to climb inside their jaded jalopy and careen headlong into their amplified analog landscape. From the shores of British electric blues, across the pond to America’s sonic 70s stomp; down to the Southern swamps, thru the New York groove, straight into heart of California’s psychedelic desert. ROADSAW’s long strange trip is a virtual history of heavy riffs.

ROADSAW’s often turbulent career includes 7 albums , numerous compilations, and a smattering of hard-to-find singles. The band has shared stages big and small on both sides of the Atlantic with comrades like Orange Goblin, Fu Manchu, Queens Of The Stone Age, Nebula, Scissorfight, Karma To Burn, Black Label Society and many others. Together with Ripple, the band looks forward to adding a big bold exclamation point to this already impressive resume. US and European tours are being booked for spring 2017, including an appearance at London’s Desert Fest. Spirits are high for the much anticipated return of one of riff rocks most loyal disciples.

Like cockroaches in a post apocalyptic fall out, ROADSAW rise once again. Having survived every storm, war, trend and taste, ROADSAW simply refuses to die. Now, they’re signed to one of the world’s leading heavy rock, stoner, doom and heavy psych label’s, Ripple Music, and it’s a certainty that mayhem will follow. Look for limited edition vinyl, CD’s and digital to be spread around the world in Spring 2017.

So there you have it. New year. New music. New label. The ‘Saw remains the same.